How do you read?

Reading a book seems a straightforward thing. Be it on a page, an e-reader, on your phone, even listening to an audio recording, we’re all in the author’s hands, following the same path on this journey. Interactive multi-media books might be coming, but they’ve not taken hold of us yet.

But I’ve recently been struck by the differences in how we carry out this simple act, how we engage with this experience. Readers have favourite ways to read. And like the Sydney Morning Herald journalist who recently wrote about her book addiction, it might be an experience so intense that it takes over your life.

Making space and time

Me? I’ve learnt to slow down. I read for the beauty of language, the clever construction of words as they create meaning and bring forth worlds.

I like to read uninterrupted—by kids, partner, fellow commuters, schedules. While I appreciate Danny Katz’s observation that the toilet provides just such a space, a numb bum takes away from the pleasure somewhat…

I won’t read until I have dedicated time to wholly engage, and in a comfortable spot. During the day, a Protestant work ethic kicks in and I feel I should be doing something else, but after dinner is perfect—on the couch, with good light and a glass of wine. Bedtime is good. Holidays and plane trips are good.

I won’t read on public transport because it’s just too bitty. Too fraught with having to engage with other people, or watch out for my stop. I worked for a man once who would read on the train to work, then along the footpath, and in the lift, only closing the book when he reached his office.

But me? I like to hold a finger in my page—or look up from an e-reader—and drift off into my own thoughts; I love the freedom of having nothing to keep pace with, nothing to miss if I wander away for a moment. And I love to reread a sentence over again, just to take in its wonder (and which is why I’m not remotely interested in audio books).

Respect!

I won’t read into the night when tiredness swamps comprehension and I find I am rereading a line three times. And I’ll stop when I start skating through, only reading for plot. Writing, good writing, is the hardest thing. When authors put their soul into each word, each sentence, to skim is to do them a disservice. That said, sometimes you just have to find out!

To share, and with whom…?

For me, reading is a solitary thing, an intensely private pastime. I’ve never wanted to join a book club. That kind of parallel reading, and sharing, leaves me cold. My own response to the author, what I take away, feels like my journey alone; other people’s responses are theirs.

But sometimes, of fellow readers, I will ask—‘What are you reading?’ It’s a shared understanding that one is always reading. I’ll ask because my kind of book club is between two only so when I find a reading soulmate, I ask. Like catching sunlight falling across a room, it won’t be there for long. A reader always moves on.

The sense of an ending

Do you pause between books? I recently read Adrian McKinty’s Sean Duffy series straight through (thank you, digital age). But series aside, when I’m between books, I’m in one world and not ready to move into another. I’m a bit antsy in those few days, a bit disconsolate.

But there’s always another. I can turn to my bookshelf that holds just those I’ve not read yet. And it’s hard to resist the lure of an e-book, always available, just one click… (I’ve heard that Amazon patented that technology and can see why).

My own reading addiction ended with a mid-career change that took a second Master’s degree, and a steep drop in income. I became a professional editor when I realised that I cared more about the words in the documents than I did about the policy, or the politics.

When I have a fresh manuscript to get on with, I couldn’t be happier.

How do you read?

 

Dymphna Cusack

Such a joy to discover a new/old writer! I am now reading everything by Dymphna Cusack (1902–1981) whose writing life was brilliantly recreated by Marilla North (Yarn Spinners, UQP 2001) at a recent Jessie Street National Women’s Library Lunch Hour Talk.

Cusack infused her literature with her passion for social justice. Women’s rights to control their bodies and their destinies was a recurring theme. Writing about poverty and power, she illuminated women’s lives in Australian society, their places taken, their freedoms ceded. Though now fifty years old, her satire and commentary on class, power and privilege remains fiercely observant and intelligent.

In The Bloody Traffic, Cusack took on the arms industry and her play, Pacific Paradise protested nuclear weapons. Though she was a well-known and popular writer internationally, Cusack had been hurt by her own country’s lack of recognition. Perhaps it is not hard to see why. She was a thorn in the side of many bastions of power.

 

If you haven’t yet read Cusack, start with Come in Spinner, co-authored with Florence James. The sheer pace of its plot, driven by a host of compelling characters, was a revelation. I recommend it highly.

For anyone who knows Newcastle, like I do, there is another reason I was intrigued. Dymphna Cusack lived in that port city for several years, literally around the corner from where my parents live today. Her books describe the parks and beaches I remember from holidays with my grandparents and she recreates them vividly.

Seeing the whole city spread out below him, he was filled with a sense of exaltation: the harbour sparkling between the winding shores of the estuary, its waters streaked with the purplish line of the river, the twin arms of Nobbys and Stockton enclosing it like the pincers of a giant crab; the huddle of buildings along the water-front; the scatter of suburbs, thinning out between coast and timbered heights; the innumerable factory chimneys, and, towering above them all, sign and seal of Newcastle’s existence, the smoke-stacks of Southern Steel and Broken Hill Proprietary under their perpetual silver-black clouds.” (Southern Steel (1953)